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Franz Joseph Haydn (1732-1809) has been called the father of the symphony and the string quartet. A friend of Mozart and a teacher of Beethoven, "Papa" Haydn composed an amazing variety of music -- symphonies, string quartets, concerti, masses, operas, oratorios, keyboard works -- and his prolific output celebrates both the heights and depths of life.
In this fascinating book Calvin Stapert combines his skills as a biographer and a musicologist to recount Haydn's steady rise from humble origins to true musical greatness. Unlike other biographers, Stapert argues that Haydn's work was a product of his devout Catholic faith, even though he worked mainly as a court musician and the bulk of his output was in popular genres. In addition to telling Haydn's life story, Stapert includes accessible listening guides to The Creation and portions of other well-known works to help Haydn listeners more fully appreciate the brilliance behind his music.
Number of Pages: 282
Vendor: Wm. B. Eerdmans Publishing Co.
Publication Date: 2013
|Dimensions: 9.00 X 6.00 (inches)|
Availability: In Stock
A New Song for an Old World: Musical Thought in the Early ChurchCalvin R. StapertWm. B. Eerdmans Publishing Co. / 2006 / Trade Paperback$14.99 Retail:
$22.00Save 32% ($7.01)Availability: In StockCBD Stock No: WW832199
My Only Comfort: Death, Deliverance, and Discipleship in the Music of BachCalvin R. StapertWm. B. Eerdmans Publishing Co. / 2000 / Trade Paperback$22.95 Retail:
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University of Minnesota
A wonderful and loving work on a great but often sidelined composer. Stapert captures Haydn's marvelous effervescence as he distills volumes of musicological detail into a manageable and enjoyable read. If one wants to explore the vast variety of opinions on Haydn written over the last two centuries, go no further. Ultimately, Stapert makes a strong case that Haydn belongs in the highest echelons of composers.
founding artistic director of Soli Deo Gloria
This excellent study gives a detailed yet eminently readable survey of Haydn's life and brilliant output. . . . Stapert's analyses of important works can be appreciated by readers armed with either scores or recordings, and his glossary entries clearly explain the four dozen or so technical terms he cannot avoid employing. Playing Before the Lord makes a cogent case that, as Stapert so pithily puts it, 'listening to Haydn's music gives us cause to rejoice because it is a revelation of grace, a case in point of the way things really are.'
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